As we know, Taiwanese documentary in the past were inclined to take a traditional format and techniques in the representation of reality, such as utilizing pile of narration, interviews, handheld camera movement, recording the slice of life, and loads of inserts of old footage. This essay takes Bill Nichols' documentary theory as basic structure and aims to examine the film ”Life” on its mode of representation and the possibility of breakthrough in the film language of Taiwanese documentary. The article will look into documentary director Yi-Fong Wu's approach on how he utilizes various modes of documentary such as expository mode, perfomative mode and reflexive mode to reveal inner world of people, how he manages the imaginary, liberated and dialectic language in documentary in order to present subjective memory and experience as a way of personal and emotional presentation, which overall demonstrate the inspirational characteristic of film.
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